Ramona Rose King

Ramona Rose King

Ramona Rose King is a NY-based producer and dramaturg. Previously, Ramona worked as the Producer of HowlRound Theatre Commons, the Literary Manager at Company One Theatre, the Executive and Development Assistant at ArtsBoston, and the Literary Associate at the Eugene O’Neill Theater Center. An advocate for new plays, Ramona reads scripts for multiple companies and was a founding editor of the New England New...
Ramona Rose King is a NY-based producer and dramaturg. Previously, Ramona worked as the Producer of HowlRound Theatre Commons, the Literary Manager at Company One Theatre, the Executive and Development Assistant at ArtsBoston, and the Literary Associate at the Eugene O’Neill Theater Center. An advocate for new plays, Ramona reads scripts for multiple companies and was a founding editor of the New England New Play Alliance's weekly newsletter. Ramona is a member of LMDA, and has a BA in English and Theatre from Boston University and a Masters Certificate in Gender, Leadership, and Public Policy from UMass Boston.

Recommended by Ramona Rose King

  • The Amphibians
    5 May. 2021
    I'm always excited by plays that address the climate crisis—I don't think there are enough of them—and this one does so from a very personal, character-driven place, which I find very effective. I also love the juxtaposition of this magical, surreal creature inserted into an otherwise totally realistic play, and there's a lot of theatrical potential—I could see this working in a really bare-bones way (perhaps having the creature represented purely by sound and lighting effects), or in a full-scale production, with an amazing puppet.
  • Hartford, Or: A Hellish Haven for Exceptionally Strong Quirky Lesbian Sexual Trauma Survivors
    23 Nov. 2020
    Despite its relatively quick runtime, this play makes a real impact. Babyface quickly brings us into her mind and her world, where dark, knowing humor covers trauma—at least at first. A searing, engaging look at life in our patriarchal society, HARTFORD sparks rich conversations and is a strong programming choice for anyone serving a teen, college-aged, or adult audience.
  • A Play Titled After the Collective Noun for Female-Identifying 20-Somethings Living in New York City in the 2010s
    26 Sep. 2020
    Wow, I learned SO MUCH from this play, but not in a way that felt like a lesson—the humanity of the characters and theatricality of the work kept me hooked. This is a surprising, hilarious, and heartbreaking play—a total playground for a creative team, and undoubtedly an experience to remember for an audience.
  • John Proctor is the Villain
    23 Sep. 2020
    Joining the chorus of readers singing the praises of this script. I was laughing and cringing in recognition, and incredibly moved by the end. Kimberly captures the rhythms of teenage girls' speech and the nuances of their relationships beautifully. Read this play, produce this play, teach this play in high school English classes instead of (or at least in conversation with) THE CRUCIBLE.
  • The Mementi Mori of Edward Gorey
    16 Sep. 2020
    This is such a formally exciting piece—it's a joy to read but truly begs to be performed. Each vignette is a treat in itself, and they all come together to create a complex, melancholy, and gorgeous portrait of an artist. As someone who isn't particularly a Gorey fan, it was still accessible and interesting, but I'm sure anyone who is more familiar with his work would find even more layers of meaning and fun facts.